Isaac Asimov – Foundation’s Edge

Asimov was a great mind who somehow wrote books that were nothing more than good. They were very enjoyable, and anyone who wants to write a straightforward adventure or mystery has a lot to learn from him. Yet none of them alone justifies Asimov’s place at the throne – they are no Grapes of Wrath or Catch-22. Foundation’s Edge isn’t that book either, but it’s the one that comes closest so far.

It is a product of a person who didn’t let old age stop him. We often treasure youth so much, as if by old age everything is over. The distance between this and the previous Foundation novels is felt. It’s not an old author returning to his well-known series to boil the pot a little. Rather, he returns to the series with the new things he learned over the year.

The story’s format and style is not very different, but it obviously tries to address previous flaws. For once, we get actual characters. Asimov’s characters are no longer chess pieces. This is just as dialogue-heavy as before, only now we can distinguish who the characters are by how they speak. It may a small difference, like Pelorat’s ramblings (and calling people dear chaps) or Golan’s toughness, but it is something.

Asimov doesn’t work against his structure – his stories are driven by plot and ideas, not characters. He just breathes a little more life into them to make them more fun. Pelorat’s character also feels like an author exploring himself. Asimov is our image of a ‘cold academic’, but in Pelorat he comes to the conclusion that a life that’s only the Life of the Mind is pretty empty and dull. It’s an alternative point of view that in previous stories he wouldn’t even consider.

The position of the Smart People is a new theme here, too. That must be something that comes from hanging too much around intellectuals. Asimov once said of Mensa Internatinal that they’re ‘aggressive about their IQ’s’, and this criticism of elitism is in this book. Asimov doesn’t hold an ideal view of a world where everyone is intelligent. Some people’s minds are just not good enough. But these don’t mean they’re automatically useless.

The Hamish people represent the ‘simple men’ who do manual work. Asimov doesn’t condescend above them, though. Asimov is mostly interested in how to prevent the intelligent people from getting drunk with power. That’s what the whole conflict of Second vs. First Foundation is about, and why the Second Foundation has such strict rules about tempering with minds.

Gaia is also Asimov’s attempt at acknowleding there is more to life than being an academic. It does come off as an asspull – a mystical thing that pops out of nowhere and becomes the center of the conflict. Like always, Asimov is good at controlling his asspulls and limiting them. They may have changed the conflict, but they don’t conveniently solve it. Gaia exists more to express the idea of actually living instead of just being an intellectual. It’s not a very deep exploration of that idea. Asimov sinks a bit into the One With Nature cliche. Still, it’s good to see him stretch beyond his comfort zone.

This is also the book where Asimov connects Foundation to his Robot, Eternity and Empire novels. This isn’t a Marvel Cinematic Universe syndrome, though, where the purpose is to point out references and think of how cool it is. Asimov references the ideas of these stories, not their actual plots. The value of the reference to the Robot universe doesn’t change if you read the novels or not. He even admits in the afterword that The End of Eternity isn’t exactly as it was described here.

Asimov’s prose remains as brisk as before. It’s a little less minimalistic, but it doesn’t read like an author who is beyond the power of editors. The occasional techno-babble is amusing. It’s so distinctly Asimov. He describes it in such cold intellectual langauge that is also very simple that these little details become amusing. The books would have been better off without explaining how hyperspatial travel works or how we can see the skies of various planets, but he always stops himself before it gets too far. If anything, it makes me curious to see how Asimov is like when he isn’t writing fiction.

Asimov remains a master at simple adventures. So far, this is the best in the series. On the previous entries, Asimov brushed his flaws aside because he was skilled enough at telling a cool mystery. This time he’s better at expressing ideas and creating actual characters. It still reads like Asimov’s more interesting ideas are in his essays. The story remains a simple adventure, but it’s better at every aspect than before.